1954-55 Theatre Catalog, 12th Edition, Page 432 (394)

Drive-ins Mentioned

1954-55 Theatre Catalog, 12th Edition, Page 432

CONCESSIONAIRES know how to properly equip a concession stand such as at the Endwell Drive-In,
Endwell, N. Y. (above). The stand at the Franklin Drive-In, Malone, N. Y. (below) is compact and modern

Take the possibility that the theatre
man has been able to construct a suitable building and has been able to furnish it properly inside. Then some of the problems that come along are:

l. The type of equipment to buy.

2. What gas equipment and what elec
tric equipment to be used.

3. Are the lines heavy enough to
carry the electric load.

4. Is the water pressure strong
enough to serve the drink units
during the rush hours.

Even after all of these problems have
been conquered, others occur such as
purchasing the proper supplies at the
right prices. Here is where the concessionaire has the strongest point. He has

suitable means to buy high quality merchandise and because of his great purchasing power and experience, his cost
can be greatly reduced so that in the
final analysis, he is able to turn over
to the theatre owner, a greater profit
than he could possible make on his own.
This is in addition to the tremendous
advantage of not being burdened with the hundredfold details that are entailed
in the running of a concession properly
and efiiciently.

Best Equipment Cheapest

When building a new theatre, even
the financially secure exhibitor will
sometimes be concerned over the tie
mendous cost of the construction today

and, somehow, when it comes to the
concession, he feels it is time to bring
his cost down. The concessionaire is conscious of money, yet has learned that the best equipment is the most effective
equipment and, therefore, the cheapest
in the long run.

Because of the final burden of building a theatre plus equipping the concession, the theatre operator will often we]come the vital financial help that the
concessionaire will sometimes be wille
ing to give for the privilege of operating such concession at the theatre.

These are just a few of the benefits
of having a concessionaire when a new
theatre is built.

However, in addition to that, over the
recent years, there have been found
many theatre men who have been running their own concessions, who turn to
a concessionaire to take over this part
of the business. Why do they do this?

First, of all, drive-in theatres today,
more than ever before require showmanship. Showmanship means constant
attention as far as advertising, promotion and the various incentives and gimmicks that are used to get the customer
in your theatre rather than for them
to go somewhere else. Naturally, by having to divide attention between the
concession and the running of the theatre itself, neither receives full justice.
It is not infrequent for a concessionaire
to come along and after analysing the
figures of the theatre and the operation
of the concession, to readily consent to
equal or increase the profits of those
made by the theatre man in his own
operation in previous years.

Makes Good Sense

Therefore, it only makes good business
sense to hand over to someone else such
operation that is ultimately bound to
show more proht and be a greater asset
to the theatre and at the same time,
give the theatre man more time to
promote his own theatre and nothing
else as well as more time to enjoy and